Exhibition and flm programme 21 Jan – 7 May 2017

Béla Tarr Till the End of the World

EYE Filmmuseum Amsterdam eyeflm.nl /tarr Filmography of Almanac of Fall Hungary/Italy/France/Germany Béla Tarr that these events provoked him into (O˝ szi almanach), 1984, Scenario: László Krasznahorkai making a statement in this exhibition at Béla Tarr colour, 119’ (based on his 1989 novel Till the End of EYE. Not so much a political statement, Hungary Az ellenállás melankóliája (1955) Scenario: Béla Tarr (The Melancholy of the World but more an appeal to humanity, to the Cinematography: Buda Gulyás, Resistance)), Béla Tarr people and politicians of Europe, to Sándor Kardos, Ferenc Pap Cinematography: Gábor respect universal human values. Montage & assistant director: Medvigy and Jörg Widmer, Rob Tregenza, Patrick de Ranter, Ágnes Hranitzky The work of Tarr reveals a sombre Music: Mihály Víg Emil Novák, Miklós Gurbán, Erwin Lanzensberger Jaap Guldemond view of the world, in which people have Damnation (Kárhozat), Co-director & montage: little control of their own existence. The 1988, black and white, 120’ Ágnes Hranitzky characters in his flms feel abandoned Hungary Music: Mihály Víg by life. The flms are chiefy set in dreary Scenario: László Hotel Magnezit, 1978, Krasznahorkai, Béla Tarr Visions of Europe, segment surroundings dominated by decay, black and white, 10’ Cinematography: Gábor entitled Prologue (Prológus), EYE is proud to present the frst disintegration and disinterest. An out- Hungary Medvigy 2004, black and white, 5’ ever exhibition by the Hungarian flm­ sider sometimes appears, upsetting the Montage & assistant director: Hungary maker Béla Tarr (Pécs, Hungary, 1955). established patterns within a small Family Nest Cinematography: Robby Müller Ágnes Hranitzky Béla Tarr is widely regarded as one of community. But Tarr also makes it clear (Családi tu˝zfészek), 1979, Music: Mihály Víg Music: Mihály Víg black and white, 108’ the most important and infuential flm that there can be no escape. Life Hungary City Life, episode entitled The Man from London authors of the past three decades. remains as it is. Scenario: Béla Tarr The Last Boat (Az utolsó (A londoni férf), 2007, black He is the master of the long take, the Cinematography: Ferenc Pap hajó), 1990, Béla Tarr, black and white, 139’ master of wonderfully shot, languid, As one of the great masters of Montage: Anna Kornis and white, 30’ Hungary/Germany/France Music: János Bródy, Mihály Argentina / Netherlands Scenario: László melancholic flms about the human contemporary cinema, Tarr has carved Móricz, Szabolcs Szörényi, Scenario: Béla Tarr, László Krasznahorkai, Béla Tarr, condition. After making his international out this bleak view of the world a body Béla Tolcsvay, László Tolcsvay Krasznahorkai adaptation of Georges breakthrough with Damnation (1988), of work that is hypnotic in its sheer Cinematography: Gábor Simenon’s novel L’homme he enhanced his reputation and standing visual force. More than anyone else, he The Outsider de Londres, 1934 2 1 Medvigy with the more than seven-hour Satan- has the courage to trust the image. After (Szabadgyalog), 1982, colour, Montage: Ágnes Hranitzky Cinematography: Fred 122’ Music: Mihály Víg, Zbigniew Kelemen tango (1994), Werckmeister Harmonies Damnation (1988) he flmed in black Hungary Preisner Co-director & montage: (2000) and The Turin Horse (2011). and white only, or rather in shades of Scenario: Béla Tarr Ágnes Hranitzky grey, using extreme long shots in which Cinematography: Barna Mihók, Satantango (Sátántangó), Music: Mihály Víg Tarr considers The Turin Horse to he lets the camera ‘explore’ spaces or Ferenc Pap 1994, black and white, 450’ Montage & assistant director: Hungary/Germany/Switzerland The Turin Horse be his very last flm, the one in which he landscapes very slowly. In combination Ágnes Hranitzky Scenario: László Krasznahorkai (A torinói ló), 2011, black and has said all he wanted to say as a with the almost total lack of a traditional Music: András Szabó (based on his novel Sátán tangó, white, 146’ flmmaker. For Tarr views flmmaking, story line, his style of flming reinforces 1985), Béla Tarr Hungary/France/Germany/ not as a profession, but as an urgency. the state of mind of his characters and The Prefab People Cinematography: Gábor Switzerland/United States If there is no need to say something, (Panelkapcsolat), 1982, black Medvigy Scenario: László the futility of existence. Even though and white, 102’ Montage & co-author: Krasznahorkai, Béla Tarr better to remain silent. In recent years, Tarr has an unmistakeably sombre view Hungary Ágnes Hranitzky Cinematography: Fred however, Europe has been confronted of society, he shows great compassion Scenario: Béla Tarr Music: Mihály Víg Kelemen by huge infuxes of refugees from Syria, for his characters by infusing the rain, Cinematography: Barna Mihók, Co-director & montage: Afghanistan, Iraq, Eritrea, Somalia and the mud, the wind, the disintegration and Ferenc Pap Journey on the Plain Ágnes Hranitzky Montage & assistant director: (Utazás az Alföldön), 1995, Music: Mihály Víg other countries in Africa. Tarr was the despair with a poetry that testifes to Ágnes Hranitzky television flm, colour, 35’ moved by the way Europe – after an his empathy. Music: Mihály Víg Hungary initially positive response – reacted by Scenario: based on the closing its borders. Europe simply For EYE, Tarr has made a flmic Macbeth, 1982, 72’, poems of Sándor Peto˝f television flm, colour Cinematography: Fred stood by and watched as a humanitarian installation that is a cross between a Hungary Kelemen tragedy unfolded before its eyes. One flm, a theatre decor and an installation. Scenario: Béla Tarr, Montage: Ágnes Hranitzky of the frst countries to close its borders Tarr shares with us his anger with the Ágnes Hranitzky, based on Music: Mihály Víg was Béla Tarr’s native Hungary. help of ‘found footage’, images of war, William Shakespeare fragments from his own flms and props. Cinematography: Buda Gulyás, Werckmeister Harmonies Ferenc Pap (Werckmeister harmóniák), Anybody who is at all familiar with the The exhibition starts with a space that Music: András Szabó 2000, black and white, 145’ work of Béla Tarr will not be surprised confronts visitors with the inhuman I conditions from which migrants try to escape, and in which they fnd them­ selves after a long journey. War, Border. We enter the exhibition by passing bombings, poverty, hunger, oppression, through a border checkpoint. A no-man’s-land fear and fnally closed borders and local henchmen who strike fear into the surrounded by fences. Like those being built migrants, rob them, and try to force again today all over Europe, like those that them back. Visitors then enter the world of Tarr, populated by similar characters Béla Tarr increasingly encounters in his native on the margins of society. Hungary. Behind the fences we see refugees, Tarr picked up his camera one immigrants, transients, illegal residents. Despair more time specially for this exhibition has wiped the last gleam of hope from their and flmed an 11­minute shot as the ultimate epilogue to his work in flm. In faces. This is the reality of an open Europe. it, a small boy plays the accordion in an Tarr collected photos and news images for this anonymous shopping centre. A look of installation. dismay falls across the face of the boy, unsure as he is whether he can trust the world before him — a world that we viewers cannot see. With this, Tarr asks us: can we create a world we can believe in?

2 Béla Tarr: 3 ‘I still consider flm not as show business, but as the seventh art.’

Werckmeister Harmonies, 2000 II Béla Tarr 6. This story begins in the dark. You This is no oeuvre; could say that all flm fables begin in Exterior. The cinema of Béla Tarr reduced to its this is a universe the dark. But this one begins in the dark purest essence, to a single image. The tree that because it ends in the dark. This story begins with the end. Few artists valiantly stands frm in the lashing wind in his announce at the height of their artistic fnal flm The Turin Horse (2011). This is a space powers that they’re quitting because Dana Linssen they ‘have said all they had to say’. And in which to feel and hear the wind. To experience then make a fnal flm about the last six the solitude and desolation of emptiness. days before the light dies. As though the end of humanity and the end of cinema Being-in­time is an important aspect of the flms coincide. Yet that is precisely what of Béla Tarr. The time that passes in his famous Hungarian flmmaker Béla Tarr did when his flm The Turin Horse premiered long shots. Moving through the space, visitors at the 2011 Berlin Film Festival, and the create their own long take, their own tracking jury promptly awarded him a Golden shot. Our eyes become the eyes of the camera. Bear. The Turin Horse opens with a dry voice-over that tells how the philos opher Friedrich Nietzsche, on 3 January 1889, witnessed a coachman mal treating his horse in Turin. The story goes that Nietzsche threw his arms around the horse’s neck and then went mad. 4 5 ‘About the horse,’ the narrator con- tinues, ‘we know nothing.’ You could ‘This is a true story. say that the flm follows that horse, all the way to the Hungarian puszta, where It didn’t happen to an apocalyptic wind lashes the land. the people in the flm, There we encounter the half-paralysed driver and his adult daughter who but it could have.’ watch with resig nation as the world (Family Nest, 1977) ends, flling their days with the only chores that people can still carry out: fetching water, washing clothes, cooking potatoes, sleeping. Until the night is no longer safe for their dreams. ‘But what’s happening, papa?’ asks the daughter. It’s not about the answer, which her father doesn’t have anyway, but the weak tone of her question, about the terrifyingly natural way they adapted themselves to their fate centuries ago. We think that the flm is set in the past, but it could just as easily be the future. Or the present. For time no longer seems to exist. Man’s ability to normalize, adapt and conform Damnation, 1988 is precisely his downfall. Father and III daughter are made up of nothing but tread carefully when it comes to making actions. Repetitive automatisms. metaphysical statements. Only empirical Refexes. The characters of Béla Tarr and logical statements about the Interior. The hardships of the frst two spaces foat somewhere between Beckett and physical world are meaningful. are followed by the apparent protection of an Antonioni. Get dressed, muck out the Tarr is also called a philosopher. stable, eat, another day. Until that day And a mystic. His flms started out in interior. For this space, Béla Tarr selected four probably doesn’t arrive. the realm of documentary before key scenes from his work. Two are taken from Tarr said he had said all he had to moving through politically and socially say with this flm, and had no desire to committed work into increasingly Damnation (1988). This flm tells the story of repeat himself. But that is not to say he metaphysical, transcendental images the unemployed and depressed Karrer, who is had lost his faith in the art of flm. After and stories which, for that matter, never nine feature flms and a handful of lost sight of the lives of ordinary people. in love with the singer from the local Titanik Bar. shorter productions that had changed It was more a process of paring down, We see a night-time dance scene in which the the landscape of modern flm once and of edging ever closer to the essence. for all, he went and founded a flm That is not to say that we have to camera observes the dancers like an outsider. school in Sarajevo. interpret those flms more symbolically. The other scene is a long panorama shot Time and again he reminds us that his out side the bar. We see the regulars, the 5. flms are not allegories. They have no That is why this story, which is political or religious meaning. Even so, inhabitants of the town, staring into the distance a story that begins in the dark, and is some times the viewer cannot escape motionlessly. It is an ominous, absurdist tableau a story in which many endings beckon, his own associations. Werck meister is still a story of hope. Or of courage. Harmonies (2000) is set in the shadow of living statues, with the off-screen accordion Or of the courage of desperation with of a looming eclipse in a small provincial music still encouraging dancing. which we continue to tell stories. Till the town. The sense of ordinari ness is end. disrupted by the arrival of a travelling 6 7 Another classic scene comes from Werck- You have just watched a flm by exhibition of wonders and curiosities of meister Harmonies (2000), and consists of an Béla Tarr. The world has just ended. nature, among them a stuffed whale, But something has happened and you and a mysterious prince, whom we intense burst of discontentment, a procession can no longer ignore it. You are touched never get to see, but who is ascribed of angry men who are out to destroy everything and moved, invigorated in some strange the role of frebrand. sort of way. And you try to think what it You could say that this is a flm of value in the town. means. What that experience means about chaos and order. János Valuska, Together with cameraman Robby Müller, for your sense of inner self. You have the village postman, and our eyes and Tarr contributed a short segment entitled Pro- just been very close to people who ears in the flm, is fascinated by a deceived and lied to one another, who cosmical order, which is not necessarily logue to the anthology flm Visions of Europe. loved one another but no longer know religious. In the fabulously dancing The section consists of a long tracking shot how to express that. You have seen opening scene, he explains how the throngs marching through the streets, coming solar eclipse actually happens, past people queueing at a soup kitchen. A refec- you have seen the light die out, and without any interference from a higher tion of the scenes from Damnation and Werck- here you still are. power. At closing time in the local pub, That ‘having said what there is to he makes the regular guests stage meister Harmonies, and an echo of the refugees say’ from Béla Tarr calls to mind the how the sun occupies the centre of our we passed at the entrance to the exhibition. famous line by philosopher Ludwig solar system. ‘You are the sun. The sun Wittgenstein at the end of his Tractatus doesn’t move.’ And he arranges the Logico-Philosophicus: ‘Whereof one drunken regulars as the earth and moon cannot speak, thereof one must be and other planets around it. Lonely and silent’. Wittgenstein is not saying that inebriated on pálinka, each of them we must remain silent. We can always is a motionless star occupying his own sing or write poetry or roar with universe. depravity. But he wants philosophy to IV 4. world in front of the camera and the It’s a classic dramaturgical view of that world through the camera starting point: what happens when the are one and the same. Children. The most famous scene by Béla Tarr status quo is upset? When things no The cinema of Béla Tarr is an probably comes from Satantango (1994), in longer go the way we are accustomed empirical cinema about the physical them to going, as the philosophical world. It is a cinema of wind, mud and which the young Erika Bók walks day and night neighbour in The Turin Horse puts it to rain. Dull, desolate, desperate, fatal. with her dead cat. She killed the animal, her only us. Does the unease, the angst, the Populated by absent women and dread and the discomfort then exposed drunken men who fall off chairs. A playmate, in an act of cruelty and tenderness. lie somewhere within mankind, or are cinema of gravity. Of recurring names A mixture of sadness and aggression. The they provoked by the arrival of strangers, and faces, of actors who grew older in by inexplicable events? We encounter front of his camera. Of cinemato- children in his flms are not spared such complex a comparable situation in the seven- graphers Gábor Medvigy and Fred feelings. Look, for example, at the scene in and-a-half-hour, twelve-chapter Kelemen. Of the waltzing harmonies of Satantango (1994), made up of twelve composer and regular contributor Mihály Werckmeister Harmonies (2000) in which the centrifugal stories about a crumbling Víg (who also played the leading role in two sons of the village policeman jump on agricultural collective. It is that ffth Satan tango). Music often composed their beds in a mad frenzy. Even play becomes season between autumn and winter, before the images exist. A cinema by when the land lies fallow and barren, László Krasznahorkai, author of destructive. and the roads will soon be impassable melancholic dystopias, who co-wrote As the Berlin Wall fell and the Iron Curtain because of the rain. The harvest has the scenarios since Damnation (1988), been gathered, and everybody is wait ing of editor, ex-wife and sounding board was lifted in Europe, Béla Tarr made the short for the winter. They are also waiting for Ágnes Hranitzky. Béla Tarr is more flm The Last Boat (1990), about an abandoned the fruits of the harvest: the earnings than a flmmaker; he is a team. Together, that might enable them to set off for the they travel a world of country roads that 8 9 Buda pest. The camera travels along empty horizon. But although there is enough cut right from the end of the day, streets, hospitals, abandoned factories as the horizon for everybody, they are all straight through the night, and into the fearful there will not be enough proft. following day. To the wind that sweeps last inhabitants depart. So various characters hatch a scheme through all his flms, blowing away the to make off with the money. This plot is last city in The Turin Horse. Until the thwarted by the return of Irimiás and road ends, because there is no world Petrinas, a duo whom everybody fears on the other side of the hill to fee to. for one reason or another. But is their arrival the fnal push needed to make 3. the farming community fall apart? This story started at the end, Decay has already set in. Searching for because The Turin Horse is, for the external causes and excuses doesn’t present at least, the fnal flm in the change anything. traditional sense made by Béla Tarr. You simply have to yield to the Ten years before The Turin Horse, associations that strike you while Tarr said in an interview at the National watching the work of Béla Tarr. The Theatre in London, held on the occasion way communism numbed people, the of the English premiere of Werck- way capitalism does the very same. meister Harmonies, that he believed The thought of holocaust and ecocide. you essentially make the same flm They could be there even without the over and over again, gradually getting flmmaker putting them in. They concern closer and closer to a simpler and your own world. clearer style. That comment reveals His flms depict the world he sees. the tradition from which Tarr emerged: The world he encounters. But they also European author cinema. His work Satantango, 1994 convey his vision of that world. The reveals a totally authentic voice. A quick V glance at the stills from his flms – if spend with his characters, long shots such a thing as a quick glance at his become close-ups in time, as it were. work is even possible – is all you need We not only get to know people better Kitchen. Here we see the original table and to detect a consistency of visual through their facial expressions, their companion stools from Béla Tarr’s last flm language, mood, theme, style and often seemingly impassive expressions, characters. You could view his flms as their big eyes. The small Erika Bók in The Turin Horse (2011). It is the setting for the modulations of one another, variations Satantango with her dead cat. Her gaze daily meal of potatoes eaten by the father and on a theme. And then you discover: this turns more inward in The Turin Horse. is no oeuvre; this is a universe. In Werckmeister Harmonies, Lars daughter in this apocalyptic flm. The stage You see the black and white as it Rudolph stands face to face with the for the philosophical monologue of a drunken shrouds all the grey in between. Wide primeval gaze of a dead whale. Silent shots that stretch the frame. Inhabited witnesses from a speechless world full neighbour who comes to collect a bottle of by vagabonds and lost souls. People of absurdist savagery and existential pálinka fruit distillate, because the village has with fatigue and destitution etched on pain. But we get to know them best of their faces. You also see something all by their movements through space. already been blown away. The neighbour essentially elusive. His flms are usually Through their gestures. In space-time. describes the approaching end of time as a set in post-communist Hungary, or in By the way they walk. With every step judgement that man has brought upon himself, some unspecifed past. A time before of a determined Bók on her way to and a time after. There is always a an uncertain goal, pulling one foot after even though ‘God also plays a role in it’. Life, sense of not entirely being in the present. another out of the autumn mud that he says, is an eternal cycle of acquiring things That makes them timeless. As though tries to stall her. Rudolph the hollow- nostalgia is something futuristic. As eyed and sleepwalking postman in a and then discarding them. Of proft and loss. though flms about the past are portents flm that squeezes eternity in one And we people think that it will always remain of the future. Damnation and The Man sleepless day. from London (2007) are literally flms And all that walking. These flms 10 11 the same, and are only really surprised when from the shadows, flm noirs about a capture kilometres in celluloid. something interrupts that cycle. nihilistic and threatening world. Portraits of men: the unemployed Karrer in 2. Damnation and railway worker Maloin For the sake of convenience, the in the Georges Simenon-inspired The oeuvre of Béla Tarr is often divided into Man from London, who sense an two periods separated by a pivotal flm: opportunity to make a fortune in a the black­and­white flms he made after shadowy world of crime and intrigue, Damnation, in which the travelling only to lapse into sloth and stagnation. and tracking shots and the Steadicam And if there is one thing that you are haunted by longer and longer cannot sense in those stills of lives that takes; and the flms before Damnation, have come to a standstill, it is time. His social-realistic flms at the intersection flms take time. They usually last longer between documentary and fction with than two hours. Satantango lasts seven- which he debuted (Family Nest, 1979; and-a-half hours, and some shots take The Outsider, 1982; The Prefab People, up to ten minutes. His television flm 1982) and Almanac of Fall (1984), with Macbeth (1982) contains one hour-long The Outsider as his only flm in colour, take. That says nothing about how long the frst in which he started to experi ment the flms really last, because Satan- with the longer shots that are typical of tango is one of the shortest flms I know. the formalism of his later work. The Werck meister Harmonies lasts as long central thread running through that early as it takes a tear to roll down your cheek. work is always the lives of ordinary His early work featured lots of people, cinéma-vérité style. His close-ups. He later captured faces in a characters often play themselves, or Damnation, 1988 different way. Because of the time we versions of themselves. These are the VI dying days of communism, the early cinema were the biggest infuences on days of something else. Apathy lingers the new flmmakers. It is worth noting, in the streets. however, that, just like in other Eastern Muhamed. Béla Tarr and his cameraman Fred Hungary has had a respectable Bloc cinemas of the time, these Kelemen flmed one extra scene specially for flm culture since the early twentieth infuences were not imitated or copied, century. Miklós Jancsó and István but appropriated and woven with native, EYE. We see a boy playing the accordion as Szabó were already established names often literary tradition of narration and the camera pulls away and moves towards him when Tarr made his debut as a 22-year- drama. They carried out formal experi- old in 1977, becoming the youngest ments to thematise questions about the in eleven minutes. It is the purest form of the flmmaker in his country to have directed position of youths in communist long camera movements for which Tarr is a feature flm. After the Hungarian society, the annexation of history, and Revolution of 1956, a year after Tarr’s class struggle. The strong docu mentary renowned. Film unfolds over time. We shift birth, the climate became less benign. movement of the 1970s developed into from close-up to mid shot to wide shot within a Many flms were banned, and flm the Budapest School. production came under the control of a single take, allowing us to see how a character central authority. The climate turned 1. occupies his environment yet remains alone. somewhat milder again in the 1960s. Béla Tarr’s father gave him an As flm technology became cheaper, 8mm camera for his fourteenth birth day. every village had its own flm club, and During his secondary school years he demand for home productions grew. aligned himself with a group of left-wing The establishment of the Balázs Béla intellectuals and artists who strongly Studio in 1959, named after a Hungarian identifed with the working class. That flm pioneer, writer and theorist from sounds like an odd act of rebellion in the early twentieth century, created a communist Hungary. But the times can venue where young talents could occasionally be that absurd. 12 13 experiment and gain experience. During one of their activities, they Western modernism, French met a group of gypsies who had nouvelle vague, the observational style applied for exit visas to work in Austria. of cinéma-vérité and the genre of direct Concerned about their fate, Tarr wrote

The Turin Horse, 2011 Werckmeister Harmonies, 2000 VII a letter to János Kádár, leader of the ‘That’s a long time ago,’ said the communist party, about their diffcult flmmaker when asked why he ever predicament. He then decided to write wanted to become a philosopher. Overtures. Four opening scenes. Four ways to a flm about it. The authorities were not Guest Workers has been lost. start a flm, to direct the eye, to enter the world enamoured, to put mildly. Together To young flmmakers who ask him with two friends, he set up the Dziga for advice, he replies: of a story. For Béla Tarr they are connected Vertov flm collective, a homage to the ‘not directly, but in a philosophical way’. He Russian flmmaker of Man With A Movie ‘Be more radical than I am.’ Camera and to Jean-Luc Godard and calls them ‘four ways to look at eternity’. In Jean-Pierre Gorin, who in the late 1960s Damnation we see a procession of cable cars had made political flms as the Groupe Dziga Vertov. The flm Guest Workers through the air. Then the camera moves, and (1971) won a prize at an amateur with it our perspective. The start of Satantango festival, and was a huge success at com munity screenings that Tarr consists of one long camera movement across organized with a flm projector and tape an abandoned farmyard. All that remain are the recorder. All seemed to pass off cows. Werckmeister Harmonies opens with peacefully, until a year later Tarr sat an entrance exam for the faculty of a cosmical dance by the drunken regulars of a philosophy and was rejected. That may local café at closing time. A horse is driven have been because he had previously called The Communist Manifesto more across the Hungarian plains in The Turin Horse. an ‘artwork than a political programme’. Four scenes that enter into dialogue with one This was the frst in a long series of clashes with all sorts of authority and 14 15 another. Four scenes that Tarr calls universal, censorship, whether it was called and that are also, in a certain way, characteristic communism or capitalism. It is also typical of the dry humour that per meates of him and his work. his work.

The Turin Horse, 2011 Satantango, 1994 Credits Publication © 2017 Béla Tarr, the authors, Films, Talks the photographers, EYE & Events This brochure was published Edited by: Filmmuseum on the occasion of the exhibition Marente Bloemheuvel, Béla Tarr – Till the End of Jaap Guldemond All rights reserved. No part 1. Films the World, EYE Filmmuseum, Texts: of this publication may be Amsterdam Dana Linssen (essay and short reproduced, stored in a Accompanying the exhibition is an 21 January – 7 May 2017 texts), Jaap Guldemond retrieval system, or transmitted extensive programme in the cinemas. Translations: in any form or by any means, EYE is screening the most important Exhibition Billy Nolan (Ned-Eng) electronic, mechanical, flms by Béla Tarr during the exhibition Final Editing: photocopying, recording or period, including The Turin Horse, The exhibition is curated by Marente Bloemheuvel, otherwise, without the prior Jaap Guldemond and Béla Tarr Mariska Graveland written permission of the Werckmeister Harmonies, Satantango, Project Managers: publisher. Every effort has Damnation and The Man from London, CEO EYE: Sanne Baar, Claartje Opdam been made to obtain the and less well-known short work. Sandra den Hamer Graphic Design: necessary permissions to Director of Exhibitions/Curator: Joseph Plateau, Amsterdam reproduce all copyrighted Jaap Guldemond Printing and Lithography: material contained in this 2. Specials Associate Curator: Drukkerij Rob Stolk, publication. Should copyright EYE is also organizing a programme of Marente Bloemheuvel Amsterdam have been unwittingly infringed accompanying activities, related to the Project Managers: Paper: in this publication, interested work of Béla Tarr, that include lectures Sanne Baar, Claartje Opdam Munken Lynx 120 and 240 grs parties are requested to contact and contextual programmes. Associate curator to Béla Tarr: Font: EYE Filmmuseum. Amila Ramović EYE Schulbuch Tuesday evenings: 24 January, Graphic Design: Publisher: The exhibition was made 7 February, 7 March, 4 April, 2 May. Joseph Plateau, Amsterdam EYE Filmmuseum, Amsterdam possible by: Film Programmer: For current information, see: Ludmila Cvikova Acknowledgements Publicity and Marketing: eyeflm.nl/tarr Inge Scheijde, Marnix van Wijk We are very grateful to all 16 Digitization flms: those who contributed to this Hungarian Film Lab (Borbála exhibition: Mihályfy, Éva Haraszin, Ákos Béla Tarr and Saufert), Jan Scholten (EYE), Amila Ramović Hagheflm Digitaal BV, Béla Noémi Blastik Toth (Mokep Film), Gabor Téni David Karikas Technical Production: Kinga Keszthelyi Indyvideo, Utrecht László Rajk Technical Support: Sven Jense Crew Muhamed (2016) Subtitling: Muhamed Osmanović Hagheflm Digitaal, Amsterdam Kouros Alaghband Audiovisual Equipment: Anna Fernandez de Paco BeamSystems Amsterdam Reinis Kalvins Installation: Fred Kelemen EYE Filmmuseum Landstra & De Vries, Amsterdam Nenad Kovacˇević IJpromenade 1 Fence: Amila Ramović 1031 KT Amsterdam Lesta Hekwerk B.V., Nieuwe Dino Topolnjak The Netherlands Wetering Nihad Usˇanović +31-20-5891400 Tree: www.eyeflm.nl Kuinderbos, Staatsbosbeheer Images (Harco Bergman) Lighting: All images: courtesy Béla Tarr Theatermachine, Amsterdam Cover Front: Damnation, 1988 Back: The Turin Horse, 2011

Damnation, 1988